Theme Of Margaret Drabble

Although there are some potential subversive elements within this text, especially regarding the education of properly domestic upper-class women, overall a close reading of this story seems to offer a poignantly non-feminist message. It is unproductive to position Susanna Centlivre’s The Basset Table as a proto-feminist text because it seems to essentialize female speech and obscure the ways in which Centlivre is participating and perpetuating the marginalizing and patriarchal discourse of the Restoration Period. Granted it is important to contextualize Centlivre as one of the view popular female playwrights of English history and to recognize the unusual proliferation of female literary and dramatic voices during the Eighteenth century, this should not take president over a close reading of the deeply seeded patriarchal underpinnings of her text. Through a comparison of William Congreve’s The Way of the World and Susanna Centlivre’s The Basset Table I will show the similar ways in which both of these texts, one in which is often criticized for its sexist and satirical treatment of female characters and the other which is hailed as progressive, engage with and perpetuate patriarchal anxieties around the potential destabilizing power of widows through their participation in the public environment and the

In spite of the enormous admiration and approval of Eliza Haywood’s novellas, which at the time of their exact publication were genuine sale rivals to the works of writers such as pope and Swift, traditional scholarship has attached little to no importance to the name of Haywood. Such scholarship, however, is terribly injudicious and ill-advised. As one of the creators of popular literature, especially the influencial and well circulated novel, Haywood is one of the key figures in Eighteenth Century literature whose name and influence has remained with us still to this day. Haywood’s work has always been revolutionary in theme as they all have a focal point largely resting upon the role of the female within a patriarchal society, as well as dipping in to themes of the possibilities of female empowerment and even the taboo matters of female promiscuity and sexual freedom. In Fantommina, Haywood’s revolutionary stand points on society come into relation with the concept of female identity in a patriarchal civilization. In this troubling novella we are presented and forced to notice the very notion that female identity is completely displaced by patriarchy, which forces women into constricting and ultimately ineffective and defenseless roles.

Does deviating from one’s gender norms inevitably doom one down a spiral of moral corruption? Tim O'Brien, author of “Sweetheart of the Song Tra Bong” and Ernest Hemingway, author of “The Short Happy Life of Francis Macomber”, certainly seem to hold this view, as evident by the fates of the major female characters in their respective works. The deviance of the major female characters in both works appears to corrupt not only themselves, but also pollute their partners, causing them to suffer injury or harm as a result. The degree of injury ranges from negligible, like Fossie’s demotion and broken heart, to fatal, like the bullet that rips through Macomber’s skull. It begs the question, are these stories meant to serve as cautionary tales for their female readers, or possibly for their husbands, so they may recognize gender deviance and stop it in its tracks before their wives transform into Margot Macomber or Mary Anne Bell? This essay will analyze what such characters say about pervading views of women, both in society and in literature.

In the 1700s women were supposed to play the role of doting woman standing by her man virtuous and loving. However, one can say that gender power dynamics could easily be turned when the idea of sex and prostitution in placed in the dynamics. The two texts to support this thesis will be Eliza Haywood’s short story Fantomina: Or, Love in a Maze. Being A Secret History of an Amour between Two Persons of Condition, and Lady Mary Wortley Montagu’s poem “The Reasons that Induced Dr. S to write a Poem called ‘The Lady’s Dressing Room’”.

Charlotte Temple is a seduction novel written by Susanna Rowson that tells a story about a British soldier, Montraville, who seduces a British schoolgirl, Charlotte, into falsely loving him and following him away to America, where Charlottes tragic life will unfold. Montraville takes advantage of Charlottes love for him and promises her that he will marry her one day and he also tells Charlotte that her parents would be proud and happy to hear that their daughter ran off with a man of honor. This manipulative and strategic doing of Montraville will continue up until the day Montraville leaves Charlotte due to the mistrustful actions of Belcour and Charlotte. The treatment and equality that the women have, or do not have, in the 18th century is evident in the novel by Rowson which is displayed by many factors such as Charlottes inability to live a happy life simply because the expectations of women during this time were standardized by men. Most jobs in the 18th century needed quite an amount of physical strength so jobs were mostly occupied by men, married women mostly did not work and many single women were private servants. The expectations of women in the 18th century that were set by men, halted the progress women were taking to try and step by step, alter the time ahead of women’s rights and equality so that the tales of Charlotte Temple would be one short told by women in the future.

Contemporary novels have imposed upon the love tribulations of women, throughout the exploration of genre and the romantic quest. Zora Neale Hurston’s Their eyes were watching God (1978) and Virginia Woolf’s Mrs Dalloway (2000) interplay on the various tribulations of women, throughout the conventions of the romantic quest and the search for identity. The protagonists of both texts are women and experience tribulations of their own, however, unique from the conventional romantic novels of their predecessors. Such tribulations include the submission of women and the male desire for dominance when they explore the romantic quest and furthermore, the inner struggles of women. Both texts display graphic imagery of the women’s inner experiences through confronting and engaging literary techniques, which enhance the audiences’ reading experience. Hurston’s reconstructions of the genre are demonstrated through a Southern context, which is the exploration of womanhood and innocence. Whilst Woolf’s interpretation of the romantic quest is shown through modernity and an intimate connection with the persona Clarissa Dalloway, within a patriarchal society.

Fay Weldon’s ‘Letters to Alice on First Reading Jane Austen’ (1984) through the form of an epistolic novel, serves to enrich a heightened understanding of the contemporary issues of Jane Austen’s cultural context. In doing so, the responder is inspired to adopt a more holistic appreciation of the roles of women inherent in Austen’s ‘Pride and Prejudice’ (1813). Due to the examination of the shift of attitudes and values between the Regency era and the 1980s, the reader comes to better understanding of the conventions of marriage for a women and the role education had in increasing one’s marriage prospects. Weldon’s critical discussion of these issues transforms a modern responder’s understanding of the role of a woman during the 19th century.

Mrs. Hopewell is a hard working widow who assumes the male role by being the primary care-giver and supporter to her special needs daughter. Hulga, despite her independence streak is determined to make a life on her own; she gives almost a reversed protest against her mother despite the care she receives. Her education does not lead her to live a more successful life, she fails to live up to her mother’s example and expectation that Hulga’s sisters, Glynese and Carramae, have already successfully copied. O’Connor writes that “Glynese, a redhead, was eighteen and had many admirers; Carramae, a blonde, was only fifteen but already married and pregnant” (151).

Gwen Harwood’s poetry is very powerful for its ability to question the social conventions of its time, positioning the reader to see things in new ways. During the 1960’s, a wave of feminism swept across Australian society, challenging the dominant patriarchal ideologies of the time. Gwen Harwood’s poems ‘Burning Sappho’ and ‘Suburban Sonnet’ are two texts that challenge the dominant image of the happy, gentle, but ultimately subservient housewife. Instead, ‘Burning Sappho’ is powerful in constructing the mother as violent to reject the restraints placed on her by society, whilst Suburban Sonnet addresses the mental impact of the female gender’s confinement to the maternal and domestic sphere. Harwood employs a range of language and

During the punishment of Hester, the countrywomen with “...stone on broad shoulders and well-developed busts... “(48), and “...a boldness and rotundity of speech…”(Hawthorne 48) stand under the platform and gossip about Hester, such as the woman like  “... a hard-featured dame of fifty…”(49), “...a third autumnal matron…”(49), “...the ugliest as well as the most pitiless of these self-constituted judges.”(49). Those old countrywomen observe how Hester harms public behoof, how to put a hot iron on Hester’s forehead, or Hester brings shame and ought to die. Most of the readers of the twenty-first century think how ironing it is that the countrywomen laugh at Hester who contains unique temperament. Nevertheless, the Puritan culture natures those countrywomen who are in the crowd since their births and Bible is the only source of truth in their lives. Environment and culture cause illiteracy of the women in the town. The development of stereotypes leads the ladies to have stubborn but reasonable boundaries of good or sin in their minds which are unusual than people in today’s world. Other than the town people, Pearl also has interesting reactions towards

"You think because I am her mother I have a key, or that in some way you could use me as a key? She has lived for nineteen years. Over and over, we are told of the limitations on choice--"it was the only way"; "They persuaded me" and verbs of necessity recur for descriptions of both the mother's and Emily's behavior. " In such statements as "my wisdom ! came too late," the story verges on becoming an analysis of parental guilt. With the narrator, we construct an image of the mother's own development: her difficulties as a young mother alone with her daughter and barely surviving during the early years of the depression; her painful months of enforced separation from her daughter; her gradual and partial relaxation in response to a new husband and a new family as more children follow; her increasingly complex anxieties about her first child; and finally her sense of family balance which surrounds but does not quite include the early memories of herself and Emily in the grips of survival needs. In doing so she has neither trivialized nor romanticized the experience of motherhood; she has indicated the wealth of experience yet to be explored in the story’s possibilities of experiences, like motherhood, which have rarely been granted serious literary consideration. Rather she is searching for

Jane Eyre, often interpreted as a bildungsroman, or a coming-of-age story, goes further than the traditional “happy ending,” commonly represented by getting married. Instead, the novel continues beyond this romantic expectation to tell full the story of Jane’s life, revealing her continual dissatisfaction with conventional expectations of her social era; as a result, many literary critics have taken it upon themselves to interpret this novel as a critique of the rigid class system present in 19th century Victorian society. One literary critic in particular, Chris R. Vanden Bossche, analyzes Charlotte Brontë’s Jane Eyre through a Marxist lens, asserting the importance of class structure and social ideology as historical context and attributing this to the shaping of the novel as a whole. This approach of analysis properly addresses Brontë’s purposeful contrast of submission and rebellion used to emphasize Jane’s determined will for recognition as an equal individual.

Be it Pygmalion, Mrs Warren’s Profession, or Heartbreak House, Bernard Shaw’s plays often portray strong female characters that defy the prescribed role of women in society. Of course, being written in times of social upheaval, his plays tend to comment on the economy of politics as well as the effects of the war. the following paper will demonstrate that, because of England’s capitalist pursuit, the women of Heartbreak House develop neuroses that are acted out through wicked games and the destruction of relationships. Because they are not allowed the level of wealth, both emotional and monetary, that they long for, they resort to hurting others in order to prop themselves higher. Through a Freudian psychoanalysis, the following essay will study the characters of the Shotover sisters in order to show how repressions and neurotic behaviour can impact their relationships with others, as well as look at Ellie through a capitalist lens.

In exploring this poem the tone of the opening line – “Abortions will not let you forget” – can be viewed as regretful and as offering a kind of warning. As we move through the poem the tone of line four, might be called literally imaginative, as she say; “The singers and workers that never handled the air”. While in lines 5-6 the tone seems at first brutally honest and realistic and then affectionate and realistic. As she continues to lines 7-10, as well as in many lines of this poem, the mother expresses herself as a person who is fully familiar with all the small, subtle realities of parenting. She even expresses her attitudes toward her abortions even more complex.

The novel in which Jane Eyre stars in can be seen criticizing many aspects of those times such as the role and nature of women, child negligence and social hardships for those in a lesser class. Jane Eyre’s alienation from society allows for a greater reveal of the story’s culture, values, and assumptions. It’s presented through the use of gender, class and character conflicts throughout the story. On multiple occasions, Jane is judged for the presented factors reflecting the type of society Jane lives in and what the times were like at that time.